Mor ve Ötesi - Forsa - Chord

Key F major – D minor Chords Gm, A, Bb, D, F, Dm, F#m, G Easy key C (capo 5)

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Capo 0

D  A  Bb  G

F             A
Ters yönden gelen
            F#m
Bıçkın başkanım
           Gm              F
Ağlamazsan bir çift sözüm var

F           A                F#m
Hep sen istedin, ben de dinledim
            Gm   A     D
Artık benim de zamanım var

A          Bb    Gm        D
Gitmedim işte, delirmedim de
A          Bb     Gm         D
Anlatan benim, seni ve her şeyi

F             A
Belki hiçbir şey
               F#m
Böyle zor olmazdı
           Gm          F
Biraz daha mutlu olsaydın

F             A
Ters yönden gelen
             F#m
Bitkin başkanım
        Gm            D
Şimdi benim de zamanlarım

A          Bb    Gm        D 
Gitmedim işte, delirmedim de
A          Bb     Gm         D 
Anlatan benim, seni ve her şeyi

A          Bb   Gm        D
Ölmedim işte, yenilmedim de
A           Bb      Gm       F
Anlatan benim, seni ve her şeyi

Dm
Belki hiçbir şey böyle zor olmazdı
Gm         Dm  Gm   Bb  Gm   Dm
Biraz daha muutlu   olllsaaaydın
Dm
Belki hiçbir şey böyle zor olmazdı
Gm         Dm  Gm   Bb  Gm   Dm
Biraz daha muutlu   olllsaaaydın

A          Bb    Gm        D 
Gitmedim işte, delirmedim de
A          Bb     Gm         D 
Anlatan benim, seni ve her şeyi

A          Bb   Gm        D
Ölmedim işte, yenilmedim de
A           Bb      Gm       F
Anlatan benim, seni ve her şeyi

End of song Play again?

Mor ve Ötesi - Forsa Tabs

NotesX

Harmony analysis

Mor ve Ötesi – Forsa: key and chord analysis

The song opens on D and ends on F. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F major side because it comes to rest on F, F is heard 8 times against 6 for Dm and the major V chord points straight at Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to F or to Dm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	8×
bii	F#m	Chromatic colour chordoutside the key	F# · A · C#	4×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	20×
II	G	Chromatic colour chordoutside the key	G · B · D	1×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	16×
IV	Bb	Subdominant — moves away from home	Bb · D · F	13×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	6×
V/ii	D	Secondary dominant V/ii — leads to Gmsecondary dominant	D · F# · A	11×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	6×
V/iv	D	Secondary dominant V/iv — leads to Gmsecondary dominant	D · F# · A	11×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	8×
#iii	F#m	Chromatic colour chordoutside the key	F# · A · C#	4×
iv	Gm	Subdominant — moves away from home	G · Bb · D	20×
IV	G	Major IV — Dorian / melodic-minor colourmodal colour	G · B · D	1×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	16×
VI	Bb	Submediant — warm colour	Bb · D · F	13×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 79 times in total; 4 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Gm Dm Fii → vi Dmiv → iminor plagal ×4
Gm A Fii → V/vi Dmiv → Viv → V ×1

The move to watch is Gm → Dm, heard 4 times. From the F side it reads ii → vi; from the Dm side it is iv → i (minor plagal: deep and melancholic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on D, the song gives away its key from the very first bar. Gm, A, Bb, D carry the song: ii–V/vi–IV–V/ii relative to F, iv–V–VI–V/iv relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. It closes on F, letting the F side have the last word.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.